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Lot 209
A Fine English Patinated Bronze Two-Light Argand Lamp, mid-19th c., centered with a foliate-decorated urn, baluster standard, and tripod feet, dark patina, retaining both burner mechanisms, with a fine pair of etched and cut crystal vasiform shades, height 21 1/4 in., width 18 in., depth 8 3/4 in.
Lot 236
A Louis XV-Style Bronze Doré and "Blanc-de-Chine" Porcelain Three-Piece Clock Garniture, female figure on a mythical beast within elaborate scrolled acanthus and foliate surround centering an enameled dial, movement marked "Marti", scrolled base, conforming three-light candelabra, clock height 29 1/2 in., width 18 1/2 in., depth 9 in.; candelabra height 25 in., width 17 1/2 in., depth 12 in.
Lot 289
A French Verte Marbre and Gilt Bronze-Mounted Crystal Regulator Mantel Clock, c. 1890, engine turned and porcelain dial signed by retailer Black, Starr and Frost, New York, movement by L. Marti & Cie., Paris, with mercury pendulum, architectonic case with carved pediment and base joined by fluted columns, height 13 1/2 in., width 8 3/4 in., depth 5 in.
Lot 428
Charles A. Lindbergh Signed Book, The Spirit of St. Louis, New York, Charles Scribner`s Sons, 1953, silver-stamped blue cloth, original dust jacket, prepublication copy, inscribed by Lindbergh "To Dr and Mrs. H.S.F Cooper / With Best Wishes, Charles A. Lindbergh / Sept., 1953 / Publication date is Sept., 14th", accompanied by a gilt bronze commemorative medallion, 1931, by Frederick MacMonnies, published by The Society of Medallists, Fourth Issue, cast by Medallic Art Co., NY, diameter 2 3/4 in. Provenance: Estate of James Fenimore Cooper IV.
Lot 465
A Rare Art Copy of a Vapheio Cup, late 19th/early 20th c., Emile Gilliéron (Swiss, 1850/1-1924) and his son, Emile (1885-1939), marked, depicting the capture of wild bulls peacefully following their captor, height 3 in., width 5 1/2 in., depth 4 1/4 in. Note: Heinrich Schliemann`s discoveries at Mycenae in 1876 and Sir Arthur Evan`s excavations of the ancient Minoan civilization at Knossos (1900-1930) were instrumental to the works of Émile Gilliéron and his son. The Gilliérons spent more than thirty years working at Knossos, establishing a thriving business in the reproduction of these rare antiquities. Examples of their work can be found in collections around the world. Recent accolades include an exhibition of their work at the Metropolitan Museum of Art, Historic Images of the Greek Bronze Age: The Reproduction of É. Gilliéron & Son, May 2011- December 2012. The Metropolitan houses pieces by the Gilliérons, including two Vapheio cups (06.202 and 06.203) similar to the ones offered here. Examples of Vapheio, Nestor and Mycenaean cups (that resemble this lot and the following) are also found in the Harvard Art Museum/Arthur M. Sackler Museum (1901.3, 1901.4, 1910.13 and 1910.15).
Lot 528
A Fine American Neo-Grec Gilt Bronze-Mounted, Ebonized, Gilt Decorated and Inlaid Rosewood Parlor Cabinet, c. 1870, Pottier & Stymus, New York, bronze mounts marked and numbered "4738", reverse of cabinet numbered "4738", stepped shaped top, conforming case fitted with two paneled doors centering bronze plaques, birdseye maple shelf interior, fluted and blocked uprights, plinth base, height 51 in., width 55 1/2 in., depth 22 3/4 in. Note: The sophisticated design of this cabinet incorporates a theme of marital fidelity and domestic harmony. The two large plaques on the doors depict Penelope attending her weaving while awaiting the return of her husband and Ulysses seated with his devoted hound. The bronze plaques are likely from Pierre E. Guerin (1843-1911), who established his New York foundry in 1864 providing mounts for renowned cabinet makers such as Leon Marcotte and Pottier & Stymus. A cabinet with "Penelope" plaques marked "Gúerin" related to those here was offered by Neal Auction Company as lot 81, September 10, 2011. An important rosewood parlor cabinet with collared stiles and bust mounts marked "P&S" very similar to those placed on this cabinet was sold by Neal Auction Company as lot 742, May 1993. The use of a four and five-digit numbering system by Pottier & Stymus before 1888 is well-known and documented in Kristin Herrons` article on Glenmont, the Thomas Edison Residence in West Orange, New Jersey. The digits on a Pottier & Stymus example could be impressed, stenciled, or inscribed in ink, as seen here. Herron notes that the numbers were probably assigned chronologically, low digits, an "3924" on an Egyptian Revival chair at the Metropolitan Museum of Art dates from 1870, an1882 wardrobe at Glenmont is marked with a higher number "66595". The inked number on this cabinet, "4736," indicates manufacture in the early 1870s. An 1888 fire in the manufactory destroyed the firms` records, and probably terminated use of the numbers in subsequent work from Pottier & Stymus. Reference: Laux, Barbara. "The Furniture Mounts of P.E. Gúerin," Magazine Antiques (May 2002) p. 140-149 and Herron, Kristin. "The Modern Gothic Furniture of Pottier and Stymus." Magazine Antiques. (May 1999) p. 765, 768, pl. XIII-XIV, note 15, and p. 769, note 17.
Lot 590
Enrique Alferez (Mexican/New Orleans, 1901-1999), "Female Figure", bronze, medium brown and verdigris patina, on original mahogany base, height 11 in., overall height 16 in. Provenance: By descent in a New Orleans family and displayed in a Prytania Street residence for many years, acquired from the artist. Note: A native of Mexico, Enrique Alferez`s life spanned almost the entire 20th century, much of it creating art. A prolific sculptor, Alferez came to New Orleans in 1929 and was so taken with the thriving artistic community in the French Quarter that he stayed. Alferez received a number of commissions, taught at the Arts & Crafts Club and directed the sculpture program for artists employed by the WPA. The latter was certainly Alferez`s most significant contribution to the city of New Orleans. He created statues, fountains and friezes which are located in parks, gardens, airports, public buildings and street scapes all over the city. Alferez`s work is characterized by a gracefulness, especially in his depictions of women for which he is best known. The work offered here is a c. 1950s bronze of a partial nude figure. The face is easily recognizable as the visage Alferez portrays in many of his female sculptures, with her delicate nose and slightly pursed lips. The texture of the sculpture reflects the modeling of clay and differs from the smooth surface that he uses in much of his work. A true afficianado in his renditions of the female form, this a lovely example of his work.
Lot 656
A Rare Pair of American Gilt Lacquered Brass and Bronze Hanging Solar Lamps, c. 1850, attributed to H.N. Hooper & Co., Boston, each corona supporting rectangular chain links, the font resting in a circlet joined by three scrolled branches, period blown chimneys and cut and etched shades with ruffled rim, retaining burner elements, unelectrified, height 25 1/2 in., diameter 11 1/2 in. Note: An identical solar lamp is illustrated in 19th c. Elegant Lighting, Gerald Gowitt, p. 92.
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